#zenith goes ballistic

[badlydrawnnsodu]

despaired, deadly, and on air!

what is badlydrawnnsodu?

badlydrawnnsodu,,, is just badly drawn new seasons of despair universe stuff! the art gallery thread in our server has had doodles of the stuff posted, and. we joked a little about having this blog, but thanks to impulse, i have successfully just- done this LMAO [-zenith]

what exactly is the new seasons of despair universe?

- to put it simply, it's a fanganronpa universe made by zenith. the characters drawn here are the participants, backups, and/or hosts in each and [almost] every one! does this count as cast art? probably. are we gonna make people pay for it? ... mayb- [/JJJJ] - nsodu is separated into seasons, and within these seasons are episodes. what do the episodes contain? the killing games, of course. we're still on the first season, but we're going strong with twenty-one (21) games! from zero to the twentieth. - we run a roleplay server for the series, from the 15th episode down to the 20th. applications for it are closed, but spectators are absolutely welcome to watch the show when it happens! maybe you'll have a chance when we open up submissions again... and now, time to introduce our blog hosts!

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✦ ：❝ 𝐁𝐔𝐓 𝐓𝐇𝐀𝐓'𝐒 𝐉𝐔𝐒𝐓 𝐀 𝐓𝐇𝐄𝐎𝐑𝐘.. 𝐀 𝐆𝐀𝐌𝐄 𝐓𝐇𝐄𝐎𝐑𝐘! ❞

✧ — you're a lebanon! kobeni's a lebanon! hello, world! i'm lumasahina, alternatively known as mod luma - at least, in this blog. i'm a momfucker first, cosmos member second, and artist third. he/she/they. my gender? uh. let me look at this script..

..this just says "unspecified". what the hell does that mean?

✦ — lebanon! lemonade! hand grenade! as implied in the previous bullet point (is that what you call it?), i like to draw! i like to draw.. a myriad of things. like, ah.. gay people. dead gay people. specifically from the hit series "new seasons of despair". but of course, to recognize that the dead gay people are being drawn by yours truly, you'll have to know who's art style belongs to who. so, i've provided a useful info sheet featuring the man himself - stanley parason, ultimate [REDACTED], from nsod: s1:e15!

[DISCLAIMER: even though stanley happens to be gay, he is, in fact, not dead. yet.]

the art style used for stanley is something you'll see on the regular. the cooler stanley's art style, on the other hand, is reserved for the semi-shitposty, overdramatic pieces. you'll see what i mean in a bit. :)

✧ — lego! citizen! ..my relation with.. zenith? who's zenith? i don't know them.

what do you mean i run this blog with them? you must be hearing things. this is my blog. this is luma's blog. not.. zenitsu's, whatever their name was. and this is my only blog, too! badlydrawnnsodu is all i have! are you trying to take that away from me?! absolutely preposterous. i can't believe you're doing this! after everything i've been through-

✦ ：❝ 𝐀𝐍𝐃... 𝐂𝐔𝐓! ❞

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☐ ; 𝐉𝐎𝐘 𝐓𝐎 𝐓𝐇𝐄 𝐖𝐎𝐑𝐋𝐃! except. for. JOHN. I HOPE THAT FUCKASS DIES.

❒ ; [𝐢'𝐯𝐞 𝐧𝐞𝐯𝐞𝐫 𝐜𝐨𝐧𝐬𝐮𝐦𝐞𝐝 𝐚𝐧𝐲 𝐡𝐨𝐦𝐞𝐬𝐭𝐮𝐜𝐤. 𝐞𝐯𝐞𝐫. /srs, and i never will.]

anyway, hey, my name is zenith. mod zenith, if you will, for this blog. i use they/it/xe pronouns, and i'm the one that'll probably answer most asks about the series or even the characters. dadfucker first, cosmos memeber second, and general artist third. can't promise any like, consistency on my part, i guess? but i hope that you enjoy what we bring you as much as we like making them.

❒ ; 𝐇𝐄𝐋𝐋𝐎? 𝐇𝐄𝐋𝐋𝐎, 𝐇𝐄𝐋𝐋𝐎? 𝐔𝐇, i wanted to record a message for you...

i'm the sole creator of nsod. i mean- it started with me and the help of someone else. [hi, if you come across this blog. i'm sorry.] it all started three years ago, and we're going strong with a better plot than before. it was supposed to be a spin-off of the original dangan series... but i scrapped that. now there's lore with guns and ships ships, a world that isn't real, mothers that are agents- god damn! look at me now.

now- this bit may be like. a little too soon, but i just wanna put it out there. uh, i just hope that this is taken right. and that it's taken into consideration 'nd stuff.

my personal request to you, however, dear viewer... please do not bastardize the characters. please do not sexualize them, please do not ship yourselves with them. please don't get parasocial with them. please do not threat them extremely. i'm okay with stuff like "can we hold hands,,," or "what if we sat on froggy chairs together", that stuff's funny and it's nice. but anything related to what was mentioned, don't. do any of that, please. thank you.

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✦ ：𝐓𝐇𝐄 𝐀𝐃𝐕𝐄𝐍𝐓𝐔𝐑𝐄 𝐋𝐈𝐍𝐄(𝐒)!

the origin point ; house of carrds ; #luma commits several war crimes

❒ ; 𝐃𝐀𝐒 𝐄𝐗𝐏𝐄𝐍𝐒𝐈𝐕𝐄 𝐇𝐀𝐈𝐈𝐘𝐀𝐀𝐀…

down abysmal ; all in on me ; #zenith goes ballistic

[tobiasdrake]

This cerulean dome place is horrifying. But we have a prophecy to fulfill, so we'd best get to it.

Enthusiastically, yes. Sovereign Headmistress and Supreme Lunar Abbess Valere of Zenith Academy at your service. Also, this is Zale; He is a blade dancer.

Are you the last of a forgotten race? Because we're supposed to be meeting someone here that meets that description....

Perfect. You are exactly what we're here to find.

So, uh, how are we doing this, TIA? You got a jar we can put this little guy in or what? Yoyo said that their unbreakable will is the key to figuring out your big alchemy secret so, like... maybe you're supposed to use them as an ingredient or something. I don't know alchemy.

Your name is Best? Fuck me, that's way better than mine. You win this round, little wispy cloud.

Are you an Ovate? Or, like, whatever this timeline had instead of Ovates? Which might just be Ovates because these are timelines, not wholly distinct multiversal realities, so there's no reason they can't share mythologies at least up to a certain point but also no reason that they have to either.

What was its original purpose? Actually, don't tell me. We left a friend in Repine that you can tell instead, and then she'll tell me. It's better for everyone that way.

Oh, okay, never mind. That's super simple.

Wait, why was that necessary? Did you screw up your climate somehow? Too many fossil fuels?

That's sort of like having a facility whose sole purpose is to purify the atmosphere and prevent the apocalyptic build-up of deadly toxins. It's good to have clean air to breathe but it also raises some questions.

I like the sound of an evil machine. Evil machines can break if you hit them hard enough. If it was a Dweller, then we were going to have a problem.

Oh! That is convenient as hell. We need to disrupt the cloud cover, and also I promised Serai that we could do a hit on the cyborg guy, so that's a nice 2-for-1 deal.

Incidentally, does anyone know what exactly we're planning to do in the Sky Base? Because if we can bring the climate controls back online, I'm for it, but I'd be lying if I said I didn't love the thought of crashing it into the ocean.

Or into Fort Fleshy.

Actually, definitely into Fort Fleshy. If there's a way we could angle it as we're bringing it down for a controlled descent....

Hold up, what? Sorry, I was thinking about ballistic vengeance. What are we talking about?

You have to be an Ovate. You share their love of apostrophes. Speaking as a renowned Ovate scholar--

Zale: She listens intently to old myths and occasionally they mention Ovates.

--I have discerned that all Ovate names have an apostrophe somewhere in them, likely for the purpose of being fanciful. Others, such as myself, do not have apostrophes in their names, likely because the Ovates used too many and did not leave enough for the rest of us.

Right, you mentioned that this place is a container of some kind.

It's like a pickle jar, extending the shelf life of the souls contained within. And the pink smog could be the brine, keeping the souls preserved until they're ready to be prepared into....

I miss Garl.

In any case, pickling can preserve the souls but only so long as they're kept in the brine. Jar breaks, brine goes everywhere and the pickles are once more exposed to the natural processes of decomposition. Or vulnerable to the various forms of hungering dust.

But if we could put B'st in a little jar then maybe....

You even need to ask that after the stunt he just pulled? He is extremely talented.

Oh, but not so extremely talented, you know. Very Mortal, this guy. The Very Mortal Alchemist is what we call him; That's his nickname right there. There's nothing special about it.

You shouldn't, uh.... You shouldn't fixate on it too much. Be impressed, be very impressed, be so impressed in fact that you offer us whatever help you can but don't. Like. Don't pay too much attention to it, it's not that big of a deal.

...pay attention to me instead. I'm the superstar. He carries my luggage. That is the dynamic and there is nothing suspicious about it at all.

Wait, hold up, is that what you've been muttering about? Is Living Glass, like, a soul jar but it's a golem?

Not a problem for us. I'm totally down for a smash and grab. In fact, this one will be a breeze 'cause the owner isn't even home. We can make all the noise we want.

Oh sweet, Cedric's a lockpicker. That will save us a lot of trouble with our B&Es moving forward. I'm going to remember this, Serai.

You know. I've been thinking about this ever since we lost him.

Teaks once told me that Aephorul is such a cruel piece of shit because he's jealous of humanity's ephemerality. He covets our ability to burn out and die. It's what he and Resh'an been denied for all these long eons.

To a man like Aephorul, so envious and insecure, there is no greater affront than to burn brightly for the short time you have to live. Then, to blissfully extinguish, bathed in glory and in the love of the people who matter most to you. To live better than he ever could and then to die well, like he's barred from doing.

With that in mind, who really got the last laugh? Who really won, that day?

We're pouring this one out for you, buddy. And by "this one", I mean B'st. And by "pouring out", I mean "of the pickle jar".

I think you'd be proud of the work we're going to do.

Perfect. I've had a moment to be in my feelings and it was nice. It's always important to take time and process your emotions in a healthy way.

Now that I've done that, I'm ready to resume processing them in an unhealthy way. Let's go do some crime.

[bk-lostintranslation]

Review: Hidden Figures

The women in Hidden Figures are presented as under-respected harbingers of an era that dissolves borders, in no small part thanks to their own convictions that such dreams can become reality.

X-Posted at Forbes & Fifth

Based on the eponymous non-fiction book by Margot Lee Shetterly, Hidden Figures is a semi-biographical drama film that boasts Theodore Melfi (of "St. Vincent" fame) at its helm. A modest one-hundred-and-twenty-seven minutes in length, the film functions in equal parts as a chroniclization and a social commentary of the struggles endured by female mathematicians at NASA during the 1960s, when both the Civil Rights movement and the Space Race were at their zenith. 

At its most basic, Hidden Figures is a counter-narrative that offers illuminating insights into the lives of these pivotal African-American women, whose efforts undergirded one of America's crowning achievements – but who were swept into obscurity by the tide of mainstream history, the flow of which is arguably dictated by white androcentrism. At the same time, the film masterfully interweaves the parallel trajectories of the aerospace industry and the Civil Rights era in such a way that they complement, rather than negate, one another in order to catalyze some of the most conspicuous manifestations of globalization. Their scope includes the launching of satellites for both global surveillance and rapid channels of communication, to the birth of information technologies that sparked trends in global networking and organizations built on international cooperation, to new platforms for social movements championing equality, which re-scaled the contentions around racial justice to worldwide dimensions. 

These advancements are significant not only for their historical clout, but because the undercurrents continue to carry through in social dynamics and technological achievements today, offering potent clues about human societies and their continued survival. Indeed, Hidden Figures, at its crux, is about survival – whether through individual ingenuity in the face of blatant prejudice and subtle microaggressions, or through the slow but deliberate erosion of hierarchical structures entrenched in racism, sexism, and tribalism. 

Tackling any one of these issues on its own would prove an enormously tall order. Exploring all of them, concurrently, runs every risk of dissolving the plot into a chaotic tangle of hopelessly overambitious themes and saccharine, oversimplified messages à la Hollywood. Yet, for the most part, the film avoids them with both cleverness and panache – largely by never losing sight of its premise as both a foundation and a fulcrum. 

More than an amusing pun on the infallible logic of numbers when used and applied correctly, or the deliberate erasure of those who made those same complicated calculations possible, Hidden Figures explicates, via its three main characters, the nuances of power, tension and belonging in segregation-era America, while each woman moves through varying social structures. They are hidden figures not merely in the context of their underappreciated work, but because they are invisible yet immensely influential widgets cultivating broader social change – even if said change may not be fully visible until years or even decades afterward. We meet Taraji P. Henson's indomitable Katherine Goble, who first steps with trepidation into the cluttered, all-white, nearly all-male whirl of the Space Task Group Office, and is alternately ignored or demeaned by her colleagues, yet ends the film in the tracking control-room, shoulder-to-shoulder with the rest of NASA's most brilliant minds as John Glenn is launched into space. Moving forward, we are introduced to Janelle Monáe's zesty and plainspoken Mary Jackson, who successfully petitions the Hampton County Courthouse to attend an all-white school despite her husband's well-meaning skepticism, then goes on to become NASA's first black female engineer. Finally, we get to know Octavia Spencer's salt-of-the-earth Dorothy Vaughan, who gathers the mettle to demand a promotion after being perpetually taken for granted, and ultimately triumphs as the first black woman to supervise a staff at NASA's center. The film makes it clear that these women are pioneers not simply owing to their individual merits, but because they represent the larger group of black female mathematicians who toiled tirelessly in their offices, unrecognized yet integral to winning the Space Race. 

Detailing the struggles each woman endures is daunting enough, yet there are far more subjects successfully interwoven through the fabric of the film. There is U.S history, global politics, social disorder, gender dynamics, professional uncertainties and mutually-encouraging friendships in a kaleidoscopic mélange. These are tackled through the film’s exploration of the awkward position Katherine occupies as the only African-American woman in her workplace, and simultaneously as a single mother of three daughters at home. They are further highlighted in the myriad obstacles women of color, and in this particular context, African-American women, had and continue to struggle against owing to both gender-and-racial-biases. Finally, they are present in the film’s palpably tense portrayal of life in Cold War America, and in the violent social disruptions that characterized an era of rising Pan-Africanism, giving voice to bitter complexities of black social and political identity, but also to the technological leaps that were seminal to the globalization process. 

Many might argue that Melfi has bitten off more than he can chew. The film is brimming with clips and offhand references to historical events – from Russia's successful launch of Sputnik, to snippets from Kennedy's iconic speech, ("We choose to go to the moon in this decade and do the other things, not because they are easy, but because they are hard,") to references to the landmark case of Brown v. Board of Education in the context of Virginia's dogged adherence to segregation, to footage of the KKK firebombing of the Freedom Riders' bus in '61 – yet the outcome is atmospheric rather than forced. The characters portrayed by Henson, Spencer and Monáe are not bland placeholders within a didactic history lesson, but dynamic players in a social drama that they also have the power to shape. Their victory is not exclusively in the swiftness of the short-term outcome, but in the new avenues it forges, allowing these women, and others like them, to march forward and push for greater change in the future. In his work, Freedom Dreams: The Black Radical Imagination, Robin D. G. Kelley remarks that when examining groups that advocate for social progress, there is a tendency to view them through the lens of whether or not they "succeeded in realizing their visions rather than on the merits or power of the visions themselves (9)." Not only does this encourage audiences not to succumb to the 'horse-race' fallacy of prior historians, but also to remember that change is not always apparent and instantaneous. 

With that in mind, another commendable aspect of the film, despite its inherently busy narrative, is that the individual and social changes rarely feel forced and come across natural to real life. For instance, Katherine does not receive respect and recognition for her efforts overnight (indeed, the fact that the original Katherine Goble did not receive an Astronomical Society Walker II Award until 2016, is meta-level irony at its finest – or cruelest). Instead, the film makes it clear that it is the pivotal launch of Sputnik, and America's frantic efforts to play catch-up, that lead to the Space Task Group, under pressure from the top, to recruit an Analytic Geometry specialist: "You know what's dangerous? Inaction. Inaction and indecision. The Russians have a spy satellite lapping the planet… No more delays… just get us up there"(00:09:16). 

In his work, The Unraveling of America: A History of Liberalism in the 1960s, historian Allen Matusow remarks that Sputnik "...struck a devastating blow at America's self-regard and sense of security. If the Russians had Sputnik, a host of commentators concluded, they probably had intercontinental ballistic missiles. If they beat us into space they must be forging ahead in science, technology, education." In the wake of this unsettling new reality, Americans were forced to confront real or perceived failings in their systems. Social criticism "… became fashionable again (9)." Small wonder, then, that there was a dramatic shift in the nation's educational policies, and that African-American groups were vociferous in their demand that black students receive both academic resources and recognition, as ignoring such an "untapped resource of intellectual and scientific brainpower would be a foreign policy disaster for the U.S during the Cold War (Thompson 20)." 

Within this volatile social climate, the demand for math wizards like Katherine arises out of brute expedience rather than genuine meritocracy – a fact that is further testified by the prejudicial and obstructionist treatment she receives from her colleagues. NASA's milieu of cutting-edge technology, blackboards covered in complicated equations, suited men in sleek office spaces and gravely-dignified meetings filled with an implicit drive to achieve the unachievable, juxtaposed with the disrespect Katherine is subject to, all highlight the gulf that exists between America's technological advancements and its social equalities. More to the point, they are reminders that NASA cannot justifiably break barriers in space without addressing the insidious but no less damaging ones that exist within and among its own people. In his book Apollo in the Age of Aquarius, Neil Maher discusses the tendentious relationship between the Civil Rights movement and the Space Race during the 1960s, intimating that the failings of one could not be corrected without addressing the needs of the other: 

In an attempt to appease criticism … NASA engineers and scientists reoriented some of their space technology toward more pressing urban problems, especially those affecting African-Americans, including air and water pollution for sewage and garbage disposal and unhealthy living conditions. The civil rights movement in other words was bringing the Space Race back down to earth. ... [Ultimately, NASA] transformed civil rights by shining an extremely bright public relations spotlight on the movement. In the Kennedy Space Center VIP viewing area, as they waited for hours for the Apollo 11 countdown, [Ralph] Abernathy and the families joining him consciously worked the captive audience. 'This is really Holy Ground,' he stated during an impromptu address to the politicians, foreign dignitaries, movie stars, and, most important, the dozens of reporters who were all waiting for the rocket to roar into the air. 'But it will be even more holy once we feed the hungry and care for the sick and provide for those who do not have homes' (50-51).

Yet, for these bleak and lopsided social dynamics, the film's message is tinged with hope. Time and time again, the protagonists are told, "That's just the way it is," yet they respond not with passive resignation but a quiet resolution to take matters into their own hands. At each turn, Melfi reminds audiences that ironclad conceptions of reality within specific societies, and their surrounding notions of naturalness, are in fact arbitrary constructs that can be shaped and re-shaped according to human efforts. At the outset of the film, Katherine's boss, frustrated and stymied by their team's repeated failures to launch ships into orbit, questions whether it is even possible to make his dreams of reaching the moon a reality. By the climax of the film, although NASA has not achieved the desired moon-landing, they have nonetheless launched John Glenn into space – a series of ascending leaps that can only guarantee they will soar higher. In the process, the organization has also made small but hugely significant steps towards an environment of greater equality and acceptance, from desegregating the bathrooms, to hiring Mary as their first black engineer, to allowing Katherine, as the first ever woman, to attend the highly-classified NASA briefing. Each time, the achievements are quiet, understated, yet carry potent resonance: a reminder that human beings have the capacity to shape the space around them, on both an individual, national and ultimately global scale. The film's ultimate scene -- where Katherine sits in the near-empty Space Task Group Office, typing up a report bearing both hers and her initially-hostile colleague Paul Stafford's names in tandem, while Paul himself, in a gesture of matter-of-fact camaraderie, brings her a cup of coffee – is touching not only for its redemptive warmth, but for the lack of fanfare that characterizes it (01:58:14-01:58:20).

Similarly, the film does not aggrandize NASA's technological breakthroughs, but calls the audience's attention to the innovators who not only made such achievements possible, but who are the literal and metaphoric 'hearts' that keeps them alive. In an earlier scene, Katherine, Mary and Dorothy nervously discuss the eventual operation of the IBM – the first transistor-based computers, meant for the scientific computing that was previously done by their department. They are prepared to accept the machine's superiority to them in terms of efficiency and speed, but are nonetheless determined to understand and master its intricacies: "It'll run eventually. We have to know how to program it once it does. Unless you'd rather be out of a job?" (00.59:22). The IBM computer, and to an even greater extent, the satellite, are both NASA-spawned innovations that were perfected during the Cold War, yet instrumental in ending it as they ushered in what sociologist Robert Roland defines as the "fifth phase" of globalization, within which the world came to be defined not "in itself" but "for itself," with all the uncertainties and possibilities that go hand-in-hand within a transnational realm of shrinking boundaries. 

Yet, as the women in the film remind us, the march of globalization does not necessarily trod humanity underfoot, but can be mastered as another extension of our dreams, whether individual or collective. Similarly, societal haves and have-nots do not exist as a disembodied vacuum, but as an expression of symbolic, political and economic disparities, allowed unchecked reign. The women in Hidden Figures are presented as under-respected harbingers of an era that dissolves these borders, in no small part thanks to their own convictions that such dreams can become reality. Yet Melfi's message is neither cloying nor moralistic; the film is a critical reminder that the struggle towards equality and unity is far from over. At the same time, there is an implicit exhortation to never stop fighting for that change. Within an increasingly globalized sphere, birthed by the innovations – technological, social – of NASA, change is the only constant, and the transformations sparked by globalization are not simply part of the world, but, conceptually, an ever-breathing, ever-expanding imprint of it. It is an imprint that we ourselves can shape, through both the existing wisdom of those who fought before us, and also through the clarity and knowledge that any phenomenon that fails to bring true equilibrium, inward and outward, will ultimately collapse beneath its own weight. 

For Hidden Figures, it is not enough to interweave the parallel trajectories of the aerospace industry and the civil rights era to highlight globalization in its most pivotal manifestations. Rather, it is to ensure that we, as the audience, understand that those manifestations are thanks to individuals too-easily forgotten within a fast-paced and self-serving world – but who must be remembered, lest we forget the very lessons our future is built upon, and our capacity to see the world as one.

Works Cited

Kelley, Robin D. G. Freedom dreams: the Black radical imagination. Boston, Beacon, 2002.

Maher, Neil M. Apollo in the Age of Aquarius. Cambridge, MA, Harvard University Press, 2017.

Matusow, Allen J. The unraveling of America: a history of liberalism in the 1960s. Athens, Ga, University of Georgia Press, 2009.

Melfi, Theodore. Hidden Figures. 20th Century Fox, 2016.

Robertson, Roland. Globalization: social theory and global culture. London, Sage, 2000.

Thompson, Mark A. Space Race: African American Newspapers Respond to Sputnik and Apollo 11. Dissertation, University of North Texas, 2007, UMI: 1452031

[safarifirearms-blog]

Schmidt Bender Rifle Scopes Australia - Safari Firearms

If you enjoy excitement and the feel of adrenaline rushing through your body then you can try hunting. On the top of it if you are in Australia then hunting is both legal and getting permit for firearms is easy. Because of the vast number of feral and invasive pests the Government encourages the hunting and though the laws is different in different states most of them allow the hunting of these species all throughout the year. Out of a total population of around twenty three million people there are around one million active hunters and it’s easy to see why it’s a million dollar business. Apart from the people staying here there are a lot of people who go there for the sole purpose of feeling this excitement.

Finding the right kind of firearms and accessories can be the first step and in fact the most important one for your hunting expedition. The professional hunters understand that while hunting can be fun it can also be dangerous too and so use of quality equipment goes a long way towards ethical hunting and also making sure of your own safety. Though you will come across a lot of shops selling hunting and shooting equipment; you can browse through the virtual shop of Safari Firearms Australia. This online shop has all kinds of branded firearms, ammunition, apparel, optics, reloading supplies and numerous accessories that will aid the process. Optics have changed the way people used to hunt in the olden times. Gone are the days when hunters and shooters used to depend solely on their own skills. But now with advanced optics which can be fixed with your gun you can hunt in the day and in the night. The best part is that it will allow you to take a clean shot without getting too close to the prey.

The best night vision scopes are available in this online store and similar products from different brands are on sale it’s fairly easy to choose the best one that will suit your pocket. With thermal imaging to assist you it’s effective to spot your target which is not possible with normal binoculars.

LEICA RANGEMASTER CRF 2000-B- SKU: 40536

This is the first compact rangefinder in the premium segment to offer hunters three ballistic outputs in addition to the measured distance. Depending on the data required it provides either a horizontal range (EHR) up to a distance of 1100 metres or 1200 yards. To further increase the precision of the ballistic value it now features an integrated inclinometer and air pressure and temperature sensors. All these things make this range finder an unbeatable all-rounder for both hunters and long range shooters.

SCHMIDT AND BENDER RIFLE SCOPES AUSTRALIA:

A proof of German Technology these rifle scopes are synonymous with superior quality and precision. The company which was formed in 1957 is going from strength to strength because of their high end optics which are used in the field of sports, defence, law enforcement and of course hunting. They produce high quality crystal images in the daytime and also in the night when there’s insufficient lights. Zenith, Polar T96, Stratos, Exos and Summit are some of the variants and you can compare their features and choose the one that would be perfect for your purpose. These rifle scopes are easy to use and are extremely reliable.

FEATURES:

·         Minimum deviation

·         Ideal for all kinds of hunting

·         A second focal plane reticle ensures perfect day time shot both in long and short range

·         Integrated locking mechanism that prevents unintentional adjustments

·         CC mode, flash dot reticle and 8x zoom

All these  and much more are there in Safari Firearms. The excellent support service and free pick up from their Sydney store have made it one of the premier online shops for firearms and related asseccories.

 For more details Leica Scopes Australia visit www.safarifirearms.com.au

[mesanthropi]

owo? whats this? [ITS A BLOG, GUYS!! YES!! GO SEE IT,,,,]

despaired, deadly, and on air!

what is badlydrawnnsodu?

badlydrawnnsodu,,, is just badly drawn new seasons of despair universe stuff! the art gallery thread in our server has had doodles of the stuff posted, and. we joked a little about having this blog, but thanks to impulse, i have successfully just- done this LMAO [-zenith]

what exactly is the new seasons of despair universe?

- to put it simply, it's a fanganronpa universe made by zenith. the characters drawn here are the participants, backups, and/or hosts in each and [almost] every one! does this count as cast art? probably. are we gonna make people pay for it? ... mayb- [/JJJJ] - nsodu is separated into seasons, and within these seasons are episodes. what do the episodes contain? the killing games, of course. we're still on the first season, but we're going strong with twenty-one (21) games! from zero to the twentieth. - we run a roleplay server for the series, from the 15th episode down to the 20th. applications for it are closed, but spectators are absolutely welcome to watch the show when it happens! maybe you'll have a chance when we open up submissions again... and now, time to introduce our blog hosts!

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✦ ：❝ 𝐁𝐔𝐓 𝐓𝐇𝐀𝐓'𝐒 𝐉𝐔𝐒𝐓 𝐀 𝐓𝐇𝐄𝐎𝐑𝐘.. 𝐀 𝐆𝐀𝐌𝐄 𝐓𝐇𝐄𝐎𝐑𝐘! ❞

✧ — you're a lebanon! kobeni's a lebanon! hello, world! i'm lumasahina, alternatively known as mod luma - at least, in this blog. i'm a momfucker first, cosmos member second, and artist third. he/she/they. my gender? uh. let me look at this script..

..this just says "unspecified". what the hell does that mean?

✦ — lebanon! lemonade! hand grenade! as implied in the previous bullet point (is that what you call it?), i like to draw! i like to draw.. a myriad of things. like, ah.. gay people. dead gay people. specifically from the hit series "new seasons of despair". but of course, to recognize that the dead gay people are being drawn by yours truly, you'll have to know who's art style belongs to who. so, i've provided a useful info sheet featuring the man himself - stanley parason, ultimate [REDACTED], from nsod: s1:e15!

[DISCLAIMER: even though stanley happens to be gay, he is, in fact, not dead. yet.]

the art style used for stanley is something you'll see on the regular. the cooler stanley's art style, on the other hand, is reserved for the semi-shitposty, overdramatic pieces. you'll see what i mean in a bit. :)

✧ — lego! citizen! ..my relation with.. zenith? who's zenith? i don't know them.

what do you mean i run this blog with them? you must be hearing things. this is my blog. this is luma's blog. not.. zenitsu's, whatever their name was. and this is my only blog, too! badlydrawnnsodu is all i have! are you trying to take that away from me?! absolutely preposterous. i can't believe you're doing this! after everything i've been through-

✦ ：❝ 𝐀𝐍𝐃... 𝐂𝐔𝐓! ❞

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☐ ; 𝐉𝐎𝐘 𝐓𝐎 𝐓𝐇𝐄 𝐖𝐎𝐑𝐋𝐃! except. for. JOHN. I HOPE THAT FUCKASS DIES.

❒ ; [𝐢'𝐯𝐞 𝐧𝐞𝐯𝐞𝐫 𝐜𝐨𝐧𝐬𝐮𝐦𝐞𝐝 𝐚𝐧𝐲 𝐡𝐨𝐦𝐞𝐬𝐭𝐮𝐜𝐤. 𝐞𝐯𝐞𝐫. /srs, and i never will.]

anyway, hey, my name is zenith. mod zenith, if you will, for this blog. i use they/it/xe pronouns, and i'm the one that'll probably answer most asks about the series or even the characters. dadfucker first, cosmos memeber second, and general artist third. can't promise any like, consistency on my part, i guess? but i hope that you enjoy what we bring you as much as we like making them.

❒ ; 𝐇𝐄𝐋𝐋𝐎? 𝐇𝐄𝐋𝐋𝐎, 𝐇𝐄𝐋𝐋𝐎? 𝐔𝐇, i wanted to record a message for you...

i'm the sole creator of nsod. i mean- it started with me and the help of someone else. [hi, if you come across this blog. i'm sorry.] it all started three years ago, and we're going strong with a better plot than before. it was supposed to be a spin-off of the original dangan series... but i scrapped that. now there's lore with guns and ships ships, a world that isn't real, mothers that are agents- god damn! look at me now.

now- this bit may be like. a little too soon, but i just wanna put it out there. uh, i just hope that this is taken right. and that it's taken into consideration 'nd stuff.

my personal request to you, however, dear viewer... please do not bastardize the characters. please do not sexualize them, please do not ship yourselves with them. please don't get parasocial with them. please do not threat them extremely. i'm okay with stuff like "can we hold hands,,," or "what if we sat on froggy chairs together", that stuff's funny and it's nice. but anything related to what was mentioned, don't. do any of that, please. thank you.

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✦ ：𝐓𝐇𝐄 𝐀𝐃𝐕𝐄𝐍𝐓𝐔𝐑𝐄 𝐋𝐈𝐍𝐄(𝐒)!

the origin point ; house of carrds ; #luma commits several war crimes

❒ ; 𝐃𝐀𝐒 𝐄𝐗𝐏𝐄𝐍𝐒𝐈𝐕𝐄 𝐇𝐀𝐈𝐈𝐘𝐀𝐀𝐀…

down abysmal ; all in on me ; #zenith goes ballistic